Wyatt Earp (ENGLISH)

Wyatt Earp (James Newton Howard). In occasions, certain soundtracks that a priori has passed unperceived, turn into emblematic works under the perspective that the passing of time gives us. It is Wyatt Earp's case, a James Newton Howard's excellent work, to which the expanded edition published for La-La Land does well-deserved justice.

Under our opinion, James Newton Howard is a composer whose music is 100 % movies. Probably, he doesn't be of those composers who experiment with new sounds or textures, but the robustness and melodiousness of his scores is, without excelling ourselves, overwhelming. Works that are always to a high level, which sometimes pass unnoticed, but that listened out of the movie are an authentic lesson of symphonic music and cinematographic texture. It is enough to listen to any action track of someone of his movies to estimate the richness and instrumental strength that so well Newton Howard makes sound, undoubtedly an expert in this type of themes. And without forgetting others of his specialties, the most lyric, dramatic themes, as well as the romantic ones.

The modern genre of the western (understanding modern for the music, not for the historical setting) is probably one of least explored, probably for its overexploitation in past decades. And that, in a beginning, does the Wyatt Earp's soundtrack difficult to catalogue. As the first part of the 3 hours that compose the film are passing, it seems that the main theme repeats itself almost constant. Once passed this part, the story and the rest of the score show us the Newton Howard's best skills, for what the high footage of the movie allows him to show us multitude of themes, action, sadness, romance, epic and tension.

The discs 1 and 2 include the expanded score of the movie, whereas the disc 3 contains other tracks, arranged as they were alternate tracks, source music, synth mockups, besides an extra track with an speech of the composer. The alternate tracks add another touch to the already listened ones in the other two discs; the source tracks are always welcome; whereas the demos hit a bit for the abysmal difference in sonorous quality existing between the virtual synth sound of the 90s and the final recording of orchestra. Even this way, and given the high quantity of music presented in this compilation, they do not turn into a material of too evident filling.